After a love affair ends badly, a young Parisian named Paul (Romain Duris) sinks into the same kind of deep depression that led his sister to kill herself. He moves back home with his ...
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After a love affair ends badly, a young Parisian named Paul (Romain Duris) sinks into the same kind of deep depression that led his sister to kill herself. He moves back home with his father (Guy Marchand) and aimless brother Jonathan (Louis Garrel) but refuses to get out of bed. One night, Paul rises from his torpor and makes a fateful visit to the Seine.Written by
In one scene of the film, where Jonathan walks in front of the cinema, two movie posters are shown. One is for A History of Violence (2005), a film which was also released in cinemas in France via the same distributor as this film. The other is for Last Days (2005) starring Michael Pitt, who co-starred with Louis Garrel in The Dreamers (2003). See more »
I think we grossly underestimate our sorrows, in general. We always die of sadness, actually.
You mean sadness is put inside us at birth?
Like eye color?
Exactly. That's why it needs our care, but others can do nothing. No one can do anything about eye color. Also, I think it would be fair to let you take care of your sorrow alone.
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I liked the avant-garde touches such as the address-to-camera in the opening, the speeded-up lovers cavorting by the Seine and touches like Jon reading a copy of 'Franny et Zooey' (another story with a dead sister)or that he stops in front of two film posters in the street, neither of which I've seen but both of which I'm sure are relevant. The conversation Paul has with Jon's forlorn girl-friend about his theory of sadness is also very moving, as is Paul's reading of the children's storybook to his younger brother, if both are somewhat obscure.The father preparing dinner whilst his estranged wife outlines the difficulties of their previous relationship seems rooted in reality. Paul's self-destructive behaviour and the see-saw moods of his relationship are bizarre believable. The relationships are discussed in a way that is both reflective and expressive, such a change from the cutesy-clichés of American romances.
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